Copy in reverse of the first state of Plate 5 of Hogarth’s ‘The Rake’s Progress’ (Paulson 136): Tom and a wealthy old woman are being married in the dilapidated church of St. Marylebone. The bride has only one eye and growths on her forehead; the IHS on the wall behind her serve as a mock halo. In contrast the old woman is attended by a beautiful young woman who has already caught Tom’s eye. In the background on the left, the elderly pew opener pushes Sarah Young, carrying Tom’s child in her arms, and Sarah’s mother; she shakes her keys in their faces to prevent them from entering the church to stop the marriage. Two dogs in the lower left of the image mirror the courtship of Tom and his bride; the courted dog has only one eye. The clergyman is assisted at the altar by a clerk, and a charity-boy kneels at the bride’s feet offering a hassock. The Poor Box on the left is covered with a cobweb; there is a crack down the center of the slab with the Commandments on the wall behind the clergyman.
Title: He marries a rich old widow [graphic].
Publication: [London] : Publish’d wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill, March 25, 1768.
“A low platform covered with roses extends almost across the design; from this bed new Ministers advancing from the left are ejecting the old. Roses are scattered on the floor. The central figure is the tall and handsome Castlereagh, author of the phrase, see British Museum satires No. 10558, &c. With a taut two-stringed bow in his left hand, a quiver on his shoulders, he strides across Grenville who is on his back on the bed, and takes ‘Candle End[s] & Cheese Paring[s]’ from a bag with which Windham tries to make off (see British Museum Satires No. 9735). He says: “I’d have you to know I’ve two strings to my Bow!! Down, Down, Down, Derry Down!!” [See British Museum satires No. 10426.] Behind him, Portland threatens Grenville (in his peer’s robe) with a big block of ‘Portland Stone’ [see British Museum Satires No. 10718, &c.]. In front of Windham Rose steps forward from the bed to grasp a large rose on the floor: ‘Treasurership of the Navy.’ This Sheridan, in his Harlequin’s suit (see British Museum Satires No. 9916), is crawling towards, saying, “Just got into my first Nap – how – Unfortunate – come Sir fat touch that however.” Rose holds up a pair of bellows inscribed ‘Sing old Rose & burn the Bellows’. Eldon, in Chancellor’s wig and gown, strides from the bed on to the prostrate Erskine, seizing the Purse of the Great Seal, whose cord is still round the latter’s arm. He raises the mace to strike the ex-Chancellor, whose wig has fallen off. Erskine says: “Be quiet I’ll retire”; he holds a money-bag inscribed ‘4,000 Pr Anm’ [see British Museum Satires No. 10714]. Lauderdale, wearing a plaid, is behind him on the ground. On the extreme left Canning, standing on the bed, holds up a massive club inscribed ‘Bon Mots & Repartee by G C–g’; he stoops over Howick pointing at the ‘Catholic Bill’, which the latter holds. Howick steps from the bed, angrily looking up at Canning (his especial enemy, cf. British Museum Satires No. 10972), but, unlike his colleagues, not devoid of dignity. On the ground between Howick and Sheridan is Petty in his gown, one hand on his ‘Budget’, a small bag, the other on a sheaf of papers inscribed ‘Ways & Means’. He says: “Bless me I wish I was safe in College I’d never have anything more to do with Taxes” [an allusion to his youth, and to the fact that he was M.P. for Cambridge]. In the background (right) are Moira in his cocked hat and Lord Temple who makes off rapidly.”–British Museum online catalogue.
Printmaker: Williams, Charles, active 1797-1830, printmaker.
Title: Re-takeing the bed of roses by storm!! [graphic].
Publication: [London] : [publisher not identified], [ca. April 1807]
Title: Les sérails de Londres, ou, Les amusemens nocturnes, contenant les scènes qui y sont journellement représentées, les portraits et la description des courtisannes les plus célèbres, et les caractères de ceux qui les fréquentent / traduit de l’Anglais.
Publication: A Paris : Chez Barba, Libraire, Palais Egalité, derriére le Théâtre de la République, no. 51, an. IX (1801)
Satire with two naval officers (one of whom is the Duke of Clarence caricatured, with heavy jowl, protruding lips, and small slanting eye) abusing each other at table, observed by a civilian who winks and holds a finger to the side of his nose. The naval officer on the right says, “Why, they say there is always a fool in every family, & they generally send him to Sea.” The Duke of Clarence in the middle responds, ” How the Devil came you to put into the Navy, Captain.” The civilian to the right, observes, “Britons strike home!!!” On the table are plates of fruit and wine glasses with two carafes one of which is labeled “Goose” and a booklet entitled “An essay on Government by Jordan”. Two pictures on the wall in the background illustrate the theme: on the left, the image shows a man (King George) holds the arm of a crying young cadet, a sword between his legs, carries the title “Win them first then wear them.” On the right, “On board the London” is an image of two officers fighting while two big sailors smile as they watch.
Title: A nautical impromptu [graphic].
Publication: [London] : Publd. Augt. 22d, 1827, by S.W. Fores, 41 Piccadilly, London, [22 August 1827]
“Hudibras is sprawled on the ground with Trulla, a large country-woman, astride him fending off angry villagers, including a cobbler and a butcher, wielding clubs; to left, Ralpho is held by a man with a rope and another with a sword”– British Museun online catalogue.
Capt. Keith struggles as he is attacked by two Indians one of whom has grabbed his rifle while another Indian stands with his tomahawk raised above the Captain’s head. The Captain’s wife with her child in her arms reaches up towards her husband as she kneels in a row boat. Other Europeans are shown in the background left and on the right, frightened, fleeing, or struggling with a band of Indians.
Printmaker: Elmes, William, active 1797-1820, printmaker.
Title: Capt. Keith & family betrayed & made prisoners by the American Indians [graphic] / Elmes.
Publication: London : Pub. by T. Tegg, Oct. 22, 1808.
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the ‘French Strollers’, who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were ‘bitterly pelted in the news-papers’. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): ‘People went early to the Theatre, as a crouded House was certain … I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot’. Despite the Justice’s assertions that the play was licensed by the King’s command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: ‘as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe’. Unable even to dance, and following another abortive attempt by the magistrates to assert the King’s authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing ‘that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion’. The print embodies similar sentiments; the French strollers attack British theatrical establishment–represented by an affronted Britannia–who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor ‘Almost kill’d for not understanding French’.
Title: The beaux nurses, or, The modern cramers [graphic] : acted at the French Theatre in the Haymarket Novr. [the] 14th.
Publication: [London : publisher not identified, not before 1749]